BREVARD MUSIC CENTER | OVERTURE
FRIDAY, JUNE 30 7:30 PM
SUSTAINING SPONSOR
WHITTINGTON-PFOHL AUDITORIUM RACHMANINOFF PIANO CONCERTO NO. 3 Brevard Music Center Orchestra Marcelo Lehninger, conductor Lise de la Salle, piano TCHAIKOVSKY (1840-1893)
Official piano of the Brevard Music Center
Symphony No. 6 in B minor, Op. 74, "Pathétique" Adagio. Allegro non troppo Allegro con grazia Allegro molto vivace Finale. Adagio lamentoso
INTERMISSION
RACHMANINOFF (1873-1943)
Piano Concerto No. 3 in D minor, Op. 30 Allegro ma non tanto Intermezzo. Adagio Finale. Alla breve Ms. de la Salle, piano
PYOTR IL’YCH TCHAIKOVSKY (1840-1893) Symphony No. 6 in B minor, Op. 74, “Pathétique” Premiered on October 28, 1893, in St. Petersburg conducted by the composer. What is the content and meaning of this work? That has been the burning question ever since its premiere. Tchaikovsky’s title, “Pathétique,” offers just enough information to fuel wide-ranging programmatic readings. The composer himself provided more questions than answers by suggesting that there is a program, but that he would not share it. The mystery becomes even more tantalizing with the composer’s death only nine days after the premiere—especially since the circumstances of his death are a mystery. The two main theories for his death offer two very different paths to the symphony’s meaning. One assumption is that Tchaikovsky died of an accidental drink of choleracontaminated water, which, obviously, provides no link to the piece. The second theory, however, that Tchaikovsky might have poisoned himself leads to all kinds of speculations about an
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Overture
auto-biographical meaning of the work—especially in light of the symphony’s unusual ending. The first movement is long and intense, opening up a dark and mysterious world with little hope—despite the many moments of hopeful nostalgia. Tchaikovsky uses all the tools of late Romantic expression—from sonata form with contrasting themes to rich orchestral colors with heavy outbursts by the brass. It is the skillful work of a composer whose mastery transcends compositional rules, creating an immediacy of expression that is unequaled. The second movement, Allegro con grazia, poses only more questions. While opening with one of Tchaikovsky’s most beautiful melodies, the irregular meter (5/4) creates tremendous tension, and the movement spirals into darkness with a pounding timpani part in the middle section. Even the return of the opening theme cannot overcome the ominous clouds. Had Tchaikovsky died before the symphony was finished, there would have been a great debate about the order of the last two